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Lotus Infuses Downtown Bloomington with Global
FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both -
THE JOHN BYRNE BAND the John Byrne Band Is Led by Dublin Native and Philadelphia-Based John Byrne
THE JOHN BYRNE BAND The John Byrne Band is led by Dublin native and Philadelphia-based John Byrne. Their debut album, After the Wake, was released to critical acclaim on both sides of the Atlantic in 2011. With influences ranging from Tom Waits to Planxty, John’s songwriting honors and expands upon the musical and lyrical traditions of his native and adopted homes. John and the band followed up After the Wake in early 2013 with an album of Celtic and American traditional tunes. The album, Celtic/Folk, pushed the band on to the FolkDJ Charts, reaching number 36 in May 2015. Their third release, another collection of John Byrne originals, entitled “The Immigrant and the Orphan”, was released in Sept 2015. The album, once again, draws heavily on John’s love of Americana and Celtic Folk music and with the support of DJs around the country entered the FolkDJ Charts at number 40. Critics have called it “..a powerful, deeply moving work that will stay with you long after you have heard it” (Michael Tearson-Sing Out); “The Vibe of it (The Immigrant and the Orphan) is, at once, as rough as rock and as elegant as a calm ocean..each song on this album carries an honesty, integrity and quiet passion that will draw you into its world for years to come” (Terry Roland – No Depression); “If any element of Celtic, Americana or Indie-Folk is your thing, then this album is an absolute yes” (Beehive Candy); “It’s a gorgeous, nostalgic record filled with themes of loss, hope, history and lost loves; everything that tugs at your soul and spills your blood and guts…The Immigrant and the Orphan scorches the earth and emerges tough as nails” (Jane Roser – That Music Mag) The album was released to a sold-out crowd at the storied World Café Live in Philadelphia and 2 weeks later to a sold-out crowd at the Mercantile in Dublin, Ireland. -
Traditional Music of Scotland
Traditional Music of Scotland A Journey to the Musical World of Today Abstract Immigrants from Scotland have been arriving in the States since the early 1600s, bringing with them various aspects of their culture, including music. As different cultures from around Europe and the world mixed with the settled Scots, the music that they played evolved. For my research project, I will investigate the progression of “traditional” Scottish music in the United States, and how it deviates from the progression of the same style of music in Scotland itself, specifically stylistic changes, notational changes, and changes in popular repertoire. I will focus on the relationship of this progression to the interactions of the two countries throughout history. To conduct my research, I will use non-fiction sources on the history of Scottish music, Scottish culture and music in the United States, and Scottish immigration to and interaction with the United States. Beyond material sources, I will contact my former Scottish fiddle teacher, Elke Baker, who conducts extensive study of ethnomusicology relating to Scottish music. In addition, I will gather audio recordings of both Scots and Americans playing “traditional” Scottish music throughout recent history to compare and contrast according to their dates. My background in Scottish music, as well as in other American traditional music styles, will be an aid as well. I will be able to supplement my research with my own collection of music by close examination. To culminate my project, I plan to compose my own piece of Scottish music that incorporates and illustrates the progression of the music from its first landing to the present. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
Melodic Identity and Tune Resemblance Karen E. Mcaulay
1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past. -
Classic 5 Hand Reel
Shaking Out the Sheets: Dirty Linen Classics by Steve Winick tric folk. The band combined Irish and song, by the U.S.-based group the In this strange new world, Five Hand Scottish elements with punchy rhythms New St. George. Reel was arguably the top folk-rock that Fairport Convention and Steeleye The 1977 followup, For A’ That, was band recording in Britain, and, in Span had been working with in recorded less than a year later in the RCA, it certainly had the biggest label England. In that sense, it was an inter- same studio, with the same producer of any such group. RCA provided a national Anglo-Celtic electric folk band. and engineer and with the same lineup heftier budget for recording and Five Hand Reel’s eponymous first of musicians. Not surprisingly, it promotion of its third album, in the album won the coveted Folk Album of sounds like an extension of the original hopes of making the band into the new the Year designation from Melody album and could have been recorded at Steeleye Span.Fairport’s Simon Nicol Maker, the runner-up being June the same sessions. Themes and genres was enlisted as producer, and the band Tabor’s debut disc. It marries solid are revisited; Irish emigration is treated went into the studio and produced Earl O’Moray, an album quite different in musicianship, impassioned vocals, and in “Carrickfergus,” the Irish love lyric sound and tone from the first two. The imaginative arrangements. It opens in “P Stands for Paddy.” Two more album is heavy on anthems, from Five Hand Reel with a medley of Scottish songs sung sets of jigs and reels get the blood Burns’ effusive “My Love is Like by Gaughan, interspersed with Irish flowing. -
Little Rock, Arkansas
Society for American Music Thirty-Ninth Annual Conference Hosted by University of Arkansas at Little Rock Peabody Hotel 6–10 March 2013 Little Rock, Arkansas Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), the early Chief of the Library of Congress Music Division and the Fpioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. Each member lists current topics or projects that are then indexed, providing a useful means of contact for those with shared interests. -
Understanding Music: Past and Present
PPENDIX M usic of the World A N. Alan Clark and Thomas Heflin A.1 INTRODUCTION As we have seen, music in Western culture is part of a rich tradition beginning with the Greeks, developing through the music of the church, and eventually re- sulting in the music we hear today. But have you ever considered what music is like in non-Western cultures? As with Western music, the various cultures across the globe have their own traditions, musical styles, practices, and rules that are often vastly different from the music many Americans are used to. The following is a sample of many different music styles from all over the world. This review will be a very cursory introduction to only a handful of the thousands of musical styles that exist across the globe with which you may not be familiar. Bear in mind that many of these musical traditions date back hundreds, and sometimes thousands, of years and deserve further exploration outside of the context of this textbook. Beyond these examples, much more music is available to you through YouTube. In this review, we will primarily focus on the musical elements of melo- dy, rhythm, instrumentation, and harmony, and describe the processes that differ- ent societies use to combine these elements. A.2 IMPORTANT TERMS • cajun • pentatonic scale • celts • koto • bodhran • shakuhachi • raga • mbira • tala • djembe • sitar • tamtam • tabla Page | 289 UNDERSTANDING MUSIC APPENDIX: MUSIC OF THE WORLD A.3 NORTH AMERICA A.3.1 Native American Music Throughout history, certain cultures have had more opportunity to develop music than others. -
Les Pages Sur Les Festivals D'été
festivalsSummer d’été Une pléiade de festivals de musique classique se disputent chaque été les faveurs des mélomanes. Le plaisir des yeux y rejoint celui des oreilles, les sites étant souvent splendides et totalement dépaysants. La Scena en brosse, ce mois-ci, un portrait pastoral. A growing number of festivals appeal to classical music lovers. They aim to please their patrons’ ears, but also they strive to delight their eyes, being located in bucolic pastures. This month, La Scena attempts to capture their unique appeal. 3 2pm. StAC. Ensemble vocal Joseph-François- über die Folie d’Espagne, Wq. 118/9, H.263 JULY Perrault; Oakville Children’s Choir; Academic (1778); Mozart: Fantaisie in C minor, K.V. 475 12 20h. EcLER. $10-22. Chausson: Quatuor; Brahms: Choir of Adam Mickiewicz University; Bach (1785); 9 Variationen über ein Menuett von Quatuor #3 en sol mineur. Quatuor Kandinsky Children’s Chorus of Scarborough; Prince of Duport, K.V. 573 (1789); Haydn: Variations in F 13 20h. ÉNDVis. $10-22. Piazzolla: “Four for Tango”; Wales Collegiate Chamber Choir; Choral Altivoz minor, Hob. xvii/6 (1793); Beethoven: 6 Castonguay-Prévost-Michaud: “Redemptio” 3 8pm. A&CC. Cantare-Cantilena Ensemble; Young Variations, op.34 (1802). Cynthia Millman-Floyd, (poème Serge-Patrice Thibodeau); Dvorak: Voices of Melbourne; Daughter of the Baltic fortepiano “Cypresses” #6 10 5 12; Chostakovich: 2 Pieces 3 8pm. GowC. St. John’s Choir; Scunthorpe Co- 3 8pm. DAC Sir James Dunn Theatre. $20-25. Guy: for String Quartet; Reinberger: Nonet op.139. Operative Junior Choir; Amabile Boys Choir Nasca Lines. Upstream Orchestra; Barry Guy, bass Quatuor Arthur-LeBlanc; Eric Lagacé, contre- 4 8pm. -
MOTHER NATURE SMILES on KSW!!!!
Make Your Plans for the Founder’s Day Cornroast and Family Picnic, on August 25th!!! ISSUE 16 / SUMMER ’12 Bill Parsons, Editor 6504 Shadewater Drive Hilliard, OH 43026 513-476-1112 [email protected] THE NEWSLETTER OF THE CALEDONIAN SOCIETY OF CINCINNATI In This Issue: Nature Smiles on KSW 1 MOTHER NATURE SMILES on KSW!!!! Cornroast Aug 25th 2 *Schedule of Events 2 ust in case you did not attend the 30th Annual Kentucky Scottish Scotch Ice Cream? 3 JWeekend on the 12th of May, here CSHD 3 is what you missed. First off, a perfectly Cinti Highld Dancers 3 grand sunny day (our largest crowd Nessie Banned in WI 4 over the last three years); secondly, *Resource List 4 the athletics, Scottish country dancing, highland dancing, clogging, Seven Assessment KSW? 5 Nations, Mother Grove, the Border Scottish Unicorns 5 Collies, British Cars, Clans, and Pipe Glasgow Boys ’n Girls 6-11 Bands. This year we had a new group *Email PDF Issue only* called “Pictus” perform and we added a welly toss for the children. Colours Glasgow Girls 8* were posted by the Losantiville Scots on FIlm-BRAVE 12* Highlanders. Out of the Sporran 13* Food and drink. For the first time, the Park served beer and wine in the “Ole Scottish Pub”. Food vendors PAY YOUR DUES! included barbecue, meat pies, fish and Don’t forget to pay your current chips, gourmet ice cream, and bakery dues. You will not be able to vote goods galore. at the AGM unless your dues are Twelve vendors. From kilts to current. -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
Embracing Change: National Arts Centre 2019-2020 Annual Report
Zéro Mani Soleymanlou Role Photo © Xavier Inchauspé The National Arts Centre (NAC) is Canada’s bilingual, multi-disciplinary home for the performing arts. The NAC presents, creates, produces and co-produces performing arts programming in various streams — the NAC Orchestra, Dance, English Theatre, French Theatre, Indigenous Theatre, and Popular Music and Variety — and nurtures the next generation of audiences and artists from across Canada. The NAC is located in the National Capital Region on the unceded territory of the Algonquin Anishinaabe Nation Mandate The NAC is governed by the National Arts Centre Act, which defines its mandate as follows: to operate and maintain the Centre; to develop the performing arts in the National Capital Region; and to assist the Canada Council for the Arts in the development of the performing arts elsewhere in Canada. Accountability and Funding As a Crown Corporation, the NAC reports to Parliament through the Minister of Canadian Heritage. Of the NAC’s total revenue, less than half is derived from an annual Parliamentary appropriation, while more than half comes from earned revenue — box office sales, food and beverage services, parking services and hall rentals – and from the NAC Foundation. Each year, the Minister of Canadian Heritage tables the NAC annual report in Parliament. The Auditor General of Canada is the NAC’s external auditor. Embracing Structure A Board of Trustees consisting of 10 members from across Canada, chaired by Adrian Burns, Change oversees the NAC. The President and CEO is Christopher Deacon. The creative leadership team is composed of Heather Gibson (Popular Music and Variety), Brigitte Haentjens (French Theatre), Jillian Keiley (English Theatre), Kenton Leier (Executive Chef), Cathy Levy (Dance), Kevin Loring (Indigenous Theatre), Heather Moore (National Creation Fund) and Alexander Shelley (NAC Orchestra).